More Blood, More Tracks, More Bob

When writing the album, Dylan used Chekhov’s method of grounding abstractions in natural imagery.

[caption id="attachment_236280" align="alignnone" width="768"] Photo by Barry Feinstein[/caption] Idiot Wind Blowing like a circle round your skull From the Grand Coulee Dam to the Capitol ... “Okay, ‘Idiot Wind,’” Dylan said during our 1992 interview. “Now obviously, if you’ve heard both versions, you realize, of course, that there could be a myriad of verses for the thing. It doesn’t stop. It wouldn’t stop.” Is that actually obvious? Who else but Bob Dylan could create something as vast, timeless and powerful as “Idiot Wind” and feel it needed more? (Okay, Leonard Cohen, sure. But who else?)  “Where do you end?” he asked. “You could still be writing it, really. It’s something that could be a work continually in progress.” A work in progress. In that idea we find the "genius" and "madness" of this man, dynamics that are often aligned. Like Tennyson, who Dylan cited as an example of an artist with the same affliction (obsessively revising and reworking a song even after it is published), Dylan has written many epic masterpieces, such as “Tangled Up In Blue,” and rather than rejoice in their greatness, sees instead new possibilities of making them better. Had he written only one song with the…

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